Candomblé Rhythms for Drum Kit
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A Cannibalist's Manifesto: Candomblé Rhythms for Drum Kit Peter Alastair McGrath-Kerr ORCID: 0000-0002-8965-7046 This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy. Melbourne Conservatorium of Music Faculty of Fine Arts and Music University of Melbourne May, 2019 Abstract Afro-Brazilian rhythms from the tradition of Candomblé have had a significant influence on Brazilian secular music. That influence can be found in samba, choro, Brazilian jazz, and popular music. Although Candomblé and associated musical practices have been investigated by musicologists and sociologists, the rhythmic and contemporary performance aspects are poorly represented in academia. As an Australian musician with a long-time interest in Brazilian music, it became a natural progression for me to develop an interest in the rhythms that form the basis of so much Brazilian music. As a drummer, my research has involved the adaptation of traditional drumming practices to the modern drum kit, with an emphasis on groove creation and improvisation. This is a creative research project that combines recordings with analysis. My processes and outcomes will in part be analysed relative to Oswaldo de Andrade's Manifesto Antropofágico (the Cannibalist Manifesto) - where the cultural cannibal seeks to absorb multiple and diverse influences in order to create something new. 2 Statement of Originality I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. This thesis has not been submitted for any degree or other purpose, and is fewer than the maximum word limit in length. Peter Alastair McGrath-Kerr April 16, 2019 3 Acknowledgements I am deeply grateful to the many people who have helped me throughout this research and the associated performances and recordings. This includes: My supervisors, Dr Robert Vincs and Alex Pertout. The many wonderful musicians and teachers who helped me delve into the world of Candomblé and associated areas of Brazilian music, including: Jorge Alabê, Richard Boukas, Kirk Brundage, Dr Philip Gallinsky, Scott Kettner, and Mauricio Zottarelli. The musicians featured in the recordings: Jorge Albuquerque, Emiliano "Memo" Beltzer, Matt Boden, Josh Bridges, Doug de Vries, Andrew Hammon, Asha Henfry, Corey King, Alistair Parsons, and Alda Rezende. The technical gurus who recorded and filmed so much of this music: Leo Dale, Jem Savage, Niko Schauble, and Andrew Watson. The members of Australia's Brazilian community who were so supportive, including: Suzana Alvarenga, Fabiana Grimaldi, Dany Maia, João Oliveira, and Newton Peres. And my eternal gratitude to Leanda, Angus, and Blaine, for their patience while I was immersed in my research. 4 Table of Contents Abstract 2 Statement of Originality 3 Acknowledgements 4 List of Figures 7 Notation Key 10 List of Creative Works 11 1. INTRODUCTION 12 1.1 Candomblé in Brief 12 1.2 Research Methodology 14 1.3 Situating the Research 15 1.4 Practice Methods and Methodology 19 1.5 Thesis Structure 20 1.6 Limits to Research 21 2. EMPIRICAL INFORMATION 23 2.1 Timeline Figures 23 2.1.1 Bell/Drum Relationships 24 2.1.2 Antecedent-consequent Structures and Direction 28 2.2 Microtiming - Brazilian Swing 29 2.3 Microtiming - demisemiquavers/flams 32 2.4 Tone production/timbre 33 2.5 Discrepancies in Empirical Information 35 3. KEY PRACTICE APPROACHES AND METHODS 38 3.1 Co-ordination Development 38 3.1.1 Bass drum development with hand ostinato 39 3.1.2 Secondary Beat Cycle 41 4. SAMBA DE CABÔCLO AND CABILA 43 4.1 Samba de Cabôclo and Cabila fundamentals 43 4.2 Samba de Cabôclo and Cabila development and performance 45 4.2.1 Bole Bole A sections 46 4.2.2 Bole Bole B sections 48 4.2.3 Bole Bole C section 49 5. IJEXÁ 51 5.1 Foundation rhythms 53 5.2 Drum Kit Applications 55 5.3 Iemanjá - ijexá performance 55 5.4 Orin Oxalá - ijexá performance 57 5.5 Oxum & Omolu - ijexá/opanijé performance 59 5.5.1 Timeline directions 60 5 5.5.2 Oxum & Omolu tk01 and tk02 61 6. ILÚ 63 6.1 Ilú (flute and drum kit) 63 6.2 The Butterfly - ilú/choro hybrid 64 6.2.1 Groove ideas for A sections 65 6.2.2 Turnaround ideas for A sections 66 6.2.3 Groove ideas for B sections 68 6.3 The Storm - ilú/baião hybrid 69 6.3.1 Description/analysis of key ideas 70 7. AGUERÉ 74 7.1 Agueré (flute and drum kit) 74 7.2 Consolação - agueré/bossa nova/samba 76 8. CONCLUSIONS, REFLECTIONS, AND FUTURE RESEARCH 79 8.1 The Cannibalist 79 8.2 Conclusions 81 8.3 Future research 83 BIBLIOGRAPHY 84 APPENDIX A – GLOSSARY 89 APPENDIX B - ANNOTATED BIBLIOGRAPHY 91 APPENDIX C - WORK SHEET 95 APPENDIX D - SCORES 96 The Butterfly 95 Avamunha 96 Iemanjá 100 The Storm 101 Oxum & Omolu 104 Oxalá: Igbin 105 Xangô 106 Orin Oxalá 108 The Paths of Ogum 110 Ogum 111 Oxumaré 112 6 List of Figures Figure 1 Tainibobé partial score (basic) ....................................................................24 Figure 2 Agueré partial score (basic) ........................................................................25 Figure 3 Angola cabila score (basic) .........................................................................25 Figure 4 Cabila score showing key relationships .......................................................26 Figure 5 Primary and secondary beat cycle in 6/8 .....................................................27 Figure 6 Secondary beat cycle - on-beat and off-beat ................................................27 Figure 7 Bell pattern showing secondary beat entrainment (on-beat/off-beat) ...........27 Figure 8 Barravento score (basic) .............................................................................27 Figure 9 Ijexá bell pattern A-B .................................................................................28 Figure 10 Ijexá bell pattern B-A ...............................................................................28 Figure 11 Triplet-based phrasing idea .......................................................................30 Figure 12 Microtiming - two equated rhythms ..........................................................31 Figure 13 Brundage-Oliveira comparison .................................................................31 Figure 14 Secondary beat cycle/off-beat secondary beat cycle comparison ...............32 Figure 15 Off-beat secondary beat cycle with possible equated rhythm .....................32 Figure 16 Avamunha - lê and rumpi .........................................................................32 Figure 17 Agueré lê/rumpi ........................................................................................33 Figure 18 Agueré lê/rmpi..........................................................................................33 Figure 19 Agueré triplet exploration .........................................................................33 Figure 20 Rum solo - Ijexá. Orchestra of the Kêtu Nation .........................................34 Figure 21 Ijexá adaptation - slow-med tempo ...........................................................35 Figure 22 Ijexá adaptation - med-fast tempo .............................................................35 Figure 23 Kêtu: Xangô - alujá bell (Brundage) .........................................................36 Figure 24 Kêtu: Xangô - alujá bell (Oliveira) ............................................................36 Figure 25 Grid example with accents ........................................................................39 Figure 26 Tainibobé bass drum development ............................................................40 Figure 27 Agueré with bass drum hemiola ................................................................40 Figure 28 Agueré with bass drum and hi-hat in 5s ....................................................40 Figure 29 Primary/secondary beat cycles in duple-time ............................................41 Figure 30 Primary/secondary beat cycles in compound-time .....................................41 Figure 31 Vassi lento/rapido exercise for primary/secondary beat cycle expression ..42 Figure 32 Samba de cabôclo tension-release structure...............................................43 Figure 33 Cabila tension-release structure ................................................................43 Figure 34 Samba de cabôclo score ............................................................................44 Figure 35 Cabila microtiming spectrum ....................................................................44 Figure 36 Cabila bell and rumpi relationships ...........................................................45 Figure 37 Cabila full score........................................................................................45 Figure 38 Choro-samba timeline figure.....................................................................46 Figure 39 Samba-choro timeline figure .....................................................................46 Figure 40 Timeline comparison - Cabila/cabôclo/samba-choro .................................46 Figure 41 Samba de cabôclo - samba de prato variations ..........................................47 Figure 42 Bole Bole - starting at 0:00 (drums only version) ......................................48 Figure 43 Basic tamborim rhythm ............................................................................48 Figure 44 Cabila bell pattern in RH, LH fills semiquavers ........................................48 Figure 45 Cabila